Table Art

Photographed by Mark Shaw in 1960, this image is an out take of the version published in LIFE. The model in a princess-line, silk faille evening coat was photographed in the Louis XV...

JFK and Caroline at Georgetown Breakfast rap_078 -- This image is only available in the 11 x 17 size. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are mad...

Jackie shopping in Georgetown. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each prin...

JFK, JBK at Senate Desk Looking Up, Smiling. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editi...

Photographed by Mark Shaw in 1960, this image is an out take of the version published in LIFE. The model in a princess-line, silk faille evening coat was photographed in the Louis XVI dining room or decorator Henry Samuel...

Dior, Alla in Croque-mitaine Holds Hat, 1953. Image size is 10" x 10" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag p...

Tiger Morse in Yellow Suit Watches Sewing, 1962. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo ra...

A model wearing Dior photographed by Mark Shaw in the mid 1950s. Recently published in the book Dior, Glamour, Mark Shaw. Rizzoli, 2013. Image size is 13.75" x 20" (for 17" x 22" ...

Tiger Morse in Yellow, Tea with Jim Thompson 01, 1962. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle ph...

A model wearing Dior photographed by Mark Shaw in the mid 1950s. Recently published in the book Dior, Glamour, Mark Shaw. Rizzoli, 2013. Image size is 10" x 15" (for 11" x 17" pap...

Dior, Lee Radziwill, Red Dress at Desk, 1962. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag p...

Audrey Hepburn, c23_3 -- Audrey Hepburn and William Holden. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order i...

Audrey Hepburn, c23_3 -- Audrey Hepburn and William Holden. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to orde...

Coco Chanel Writes at Desk in Window, Head Down, 1957 -- Coco Chanel was photographed for LIFE in 1957 at the age of 74 during her “comeback.” She had retired in 1938, a rich woman w...

Coco Creates Jewelry, 1957 -- Coco Chanel, photographed in 1957, was famous for using huge jewels both real and fake. Her cigarette remains in place despite the jewels before her. Ma...

Coco Creates Jewelry, Front, 1957 -- Coco Chanel creates jewelry in her workroom. She works with plasticine surrounded by boxes overflowing with "jewels." Mark Shaw's informal, grain...

Coco Chanel Writes at Desk in Window, Head Up, 1957 -- Coco Chanel writes at her desk, head up. Mark Shaw's informal, grainy, black and white images of Coco Chanel were created using...

Audrey Hepburn Breakfasts, audrey_05 -- Photographed for LIFE's December 1953 issue. Audrey Hepburn is seen having lunch alone in her studio d...

Kennedy nb_046 -- Jackie in JFK's Senate Office. Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo ra...

Jackie sits at JFK’s senate desk in 1959 nb_048. Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited edit...

Joan Miro photographed for LIFE magazine in his tiny studio in Barcelona by Mark Shaw in 1955 -- Miro's "in progress" work sits around him. Image size is 40" x 50" (for 44" x 54" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A portrait in color of Joan Miro. He sits on a wooden stool in his studio. He is wearing a green long-sleeve shirt with grey pants and grey shoes...

Designers' Homes Pink Satin, 1960 -- Christa Vogel wearing a Dior satin dress, photographed for 1960 issue of Life Magazine. The setting is a house ow...

Designers' Homes Pink Satin, 1960 -- Christa Vogel wearing a Dior satin dress, photographed for 1960 issue of Life Magazine. The setting is a house ow...

Designers' Homes Pink Satin, 1960 -- Christa Vogel wearing a Dior satin dress, photographed for 1960 issue of Life Magazine. The setting is a house ow...

Audrey Hepburn Backstage at Ondine, 54_0330c_6, 1954 -- Backstage at Ondine, Audrey Hepburn was photographed for Mademoiselle in 1954. After years of perfect blondes, Audrey's look was fresh and new. "…Beauty is again human instead of heavenly and we have Miss Hepburn to thank for it." Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A black and white photograph of Audrey Hepburn putting makeup on her eyelids. Her eyes are closed and she stretches the skin on her eyelid. She is at a vanity. There is a big mirror and a smaller mirror on the vanity. Hepburn has her back to the camera but she is visible in the big vanity...

Audrey Hepburn Breakfasts, audrey_05 -- Photographed for LIFE's December 1953 issue. Audrey Hepburn is seen having lunch alone in her studio d...

Coco Chanel Writes at Desk in Window, Head Up, 1957 -- Coco Chanel writes at her desk, head up. Mark Shaw's informal, grainy, black and white images of Coco Chanel were created using...

Chanel Lunches with Jessica Daves at the Ritz, 1957 -- Chanel in her ever present hat, lunches in a corner of the garden restaurant of the Ritz, with Vogue editor in chief, Jessica D...

Coco Chanel Writes at Desk in Window, Head Up, 1957 -- Coco Chanel writes at her desk, head up. Mark Shaw's informal, grainy, black and white images of Coco Chanel were created using...

Audrey Hepburn Breakfasts, c15_42 -- Photographed for LIFE's December 1953 issue. Audrey Hepburn is seen having lunch alone in her studio dressing ro...

Coco Creates Jewelry, Front, 1957 -- Coco Chanel creates jewelry in her workroom. She works with plasticine surrounded by boxes overflowing with "jewels." Mark Shaw's informal, grain...

Coco Chanel Writes at Desk in Window, Head Down, 1957 -- Coco Chanel was photographed for LIFE in 1957 at the age of 74 during her “comeback.” She had retired in 1938, a rich woman w...

Coco Creates Jewelry, Front, 1957 -- Coco Chanel creates jewelry in her workroom. She works with plasticine surrounded by boxes overflowing with "jewels." Mark Shaw's informal, grain...

Chanel Lunches with Jessica Daves at the Ritz, 1957 -- Chanel in her ever present hat, lunches in a corner of the garden restaurant of the Ritz, with Vogue editor in chief, Jessica D...

Coco Creates Jewelry, 1957 -- Coco Chanel, photographed in 1957, was famous for using huge jewels both real and fake. Her cigarette remains in place despite the jewels before her. Ma...

Audrey Hepburn Breakfasts, audrey_05 -- Photographed for LIFE's December 1953 issue. Audrey Hepburn is seen having lunch alone in her studio d...

Chanel Lunches with Jessica Daves at the Ritz, 1957 -- Chanel in her ever present hat, lunches in a corner of the garden restaurant of the Ritz, with Vogue editor in chief, Jessica D...

Coco Chanel Writes at Desk in Window, Head Up, 1957 -- Coco Chanel writes at her desk, head up. Mark Shaw's informal, grainy, black and white images of Coco Chanel were created using...

Chanel Lunches with Jessica Daves at the Ritz, 1957 -- Chanel in her ever present hat, lunches in a corner of the garden restaurant of the Ritz, with Vogue editor in chief, Jessica D...

Coco Chanel Writes at Desk in Window, Head Up, 1957 -- Coco Chanel writes at her desk, head up. Mark Shaw's informal, grainy, black and white images of Coco Chanel were created using...

Coco Chanel Writes at Desk in Window, Head Down, 1957 -- Coco Chanel was photographed for LIFE in 1957 at the age of 74 during her “comeback.” She had retired in 1938, a rich woman w...

Coco Chanel Writes at Desk in Window, Head Down, 1957 -- Coco Chanel was photographed for LIFE in 1957 at the age of 74 during her “comeback.” She had retired in 1938, a rich woman w...

Coco Creates Jewelry, 1957 -- Coco Chanel, photographed in 1957, was famous for using huge jewels both real and fake. Her cigarette remains in place despite the jewels before her. Ma...

Coco Creates Jewelry, Front, 1957 -- Coco Chanel creates jewelry in her workroom. She works with plasticine surrounded by boxes overflowing with "jewels." Mark Shaw's informal, grain...

Audrey Hepburn Breakfasts, c15_42 -- Photographed for LIFE's December 1953 issue. Audrey Hepburn is seen having lunch alone in her studio dres...

Coco Creates Jewelry, 1957 -- Coco Chanel, photographed in 1957, was famous for using huge jewels both real and fake. Her cigarette remains in place despite the jewels before her. Ma...

Dior Book Theatre de France, 1960 -- From pages 164/165 in Mark Shaw's book Dior Glamour. Model is wearing the Theatre de France dress from the Spring-Summer 1960 Haute...

Jackie sits at JFK’s senate desk in 1959 nb_048. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited e...

Joan Miro photographed for LIFE magazine in his tiny studio in Barcelona by Mark Shaw in 1955 -- Miro's "in progress" work sits around him. Image size is 10" x 12.8" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A portrait in color of Joan Miro. He sits on a wooden stool in his studio. He is wearing a green long-sleeve shirt with grey pants and grey shoes...

Joan Miro photographed for LIFE magazine in his tiny studio in Barcelona by Mark Shaw in 1955 -- Miro's "in progress" work sits around him. Image size is 32" x 40" (for 36" x 48" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A portrait in color of Joan Miro. He sits on a wooden stool in his studio. He is wearing a green long-sleeve shirt with grey pants and grey shoes...

Chagall Alone with “Il Sogno” Vertical, 1955 -- Marc Chagall shown in his studio in Vence, France. Photographed by Mark Shaw for LIFE magazine in 1955. Image...

Chagall Alone with “Il Sogno” Vertical, 1955 -- Marc Chagall shown in his studio in Vence, France. Photographed by Mark Shaw for LIFE magazine in 1955. Image...

The artwork of Alejandra España is an invitation to her intimate cosmogony. In it, she displays modules to give meaning to the observer through the co...

edition 1/5 TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of ge...

"Anastyloza" Black & White Photography 24" x 24" in Ed. of 15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Comes with COA issued by the a...

edition 1/5 TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of ge...

LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty. As a Georgia native, Graham’s work seeks to understand the ways in which pattern and printed textiles are informed by social and political movements. Her narratives are tightly bound to antebellum traditions while balancing the changing ideals of the new generation of southern society. Graham received her MFA from the University of Illinois at Urbana-Champaign and a BFA from Florida State University. She has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Athens Institute of Contemporary Art. She has also been a visiting artist at Tulane University and Valdosta State University. In 2016, Graham was awarded a fellowship and residency at the Ucross Foundation and the Vermont Studio Center. Graham is currently living and making work in Tucson, AZ. STATEMENT Firmly grounded in America’s expansive colonial history, my work interrogates how Southern culture has been idealized as “quintessential America” and the bedrock of traditional American values. Using my familiarity and position within Southern culture, I have created a new visual literacy to demonstrate how America’s nostalgia for tradition has been manipulated in an effort to isolate and disenfranchise. My drawings act as a visual archive of research that examines the consequences of American colonialism and addresses the sense of white fragility that continues to pervade Western culture. In the midst of widespread anxiety over the collective American identity, there has been a revival of many of the country’s unresolved historical battles, including contentious race relations, sexism, nativism, and an ever-growing wage gap. I employ the Americana aesthetic of the old South to parallel historical and contemporary acts of resistance to racial, economic, and gender diversity. Borrowing directly from the decorative arts, the meticulously hand-cut mylar and equally intricate drawing capitalizes on America’s propensity for nostalgia to lure the viewer into confronting injustices through the detached lens of that which has already happened. Through a combination of appropriated and invented imagery, my work contextually constructs contemporary accounts of systemic marginalization, executed under the guise of leisure, embellishment and luxury. The dense visual language invites investigation into the textured surfaces and leads the viewer to reflect on the social textures of contemporary culture while questioning their own complicity in current social constructs. Sourcing from period- specific textiles, turn-of-the-century advertisements, campaign posters, and found family photographs, the collaged images create a singular narrative composition that document the cyclical and systemic nature of marginalization in America. The methodology with which the drawings are constructed echoes historical layers of rules, regulations and hierarchies that are stitched into dominant white American myths. The resulting drawings are indexical in nature, recording the parallels between topics of current debate and 18th century Western expansionism. The disconnect between the delicate nature of the work and the unresolved cultural tensions that it reveals provides a visual record of the inconsistencies of American idealism. My current project explores the South as the embodiment of America’s pastoral traditions and values that are at the center of the “Make America Great Again” movement, a movement which has both exploited and is at odds with a social ideal that simultaneously proclaims itself to be “post- racial” and “post- gender” while identifying with a “pull-yourself-up-by-the-boot-straps” mentality. As one of the earliest colonized areas, the South is often portrayed as a region of racial and gender stability in the face of impending change. I am currently working with research institutions in the South to further understand how the architectural structure of the Southern plantation...

Medium: Oil on Canvas Signature: Signed Lower Left

Dinner for two look out at the Empire State Building, NYC

86.IV.47 - 06 markings on sticker verso, Edition not know. Matted and framed under glass, not examined out of frame. Done for the American Express Company